1788-L has been an enigma for some time now, emerging with stellar remixes marked by intense synths and unique designs. Having collaborated with REZZ on her upcoming album, Certain Kind Of Magic‘s “H E X” the mysterious producer has made quite a bit of noise in the bass world already. Recently, 1788-L launched an inexplicable AI-powered website that gives users answers to specific questions. Fans of course jumped all over this, asking about unreleased music.
Click HERE to access the website and feel free to ask away.
Facts users found out were 1788-L’s has a four-track EP named, SENTIENCE, and it’s coming out in August. The tracklist features four tracks, known currently as, “FULL/BURST,” “NU/VER/KA,” “FORCE/IMPULSE,” and “ASTRAY/R.” The lead single, “FULL/BURST” will be released August 3, the same day his collaborator REZZ is set to deliver her sophomore LP. Things are moving fast for the burgeoning new act as 1788-L is slated to support Ekali’s upcoming Crystal Eyes tour, shortly after his debut DJ performance at Brownies & Lemonade in LA a couple weeks ago. Attendees on Reddit seem to have confirmed the DJ/producer is in fact Stonewall Klaxon, though the project’s secretive allure continues to give it an added measure of appeal.
Today I’ve got a new electronic EP to share. It’s by French producer, ÆDAN and titled ‘Le temps.’ These are five of the freshest, most forward thinking electronic songs I’ve heard in a minute. ÆDAN uses familiar sounds and techniques that we hear in the latest electronic music, but in a very musical context, almost
Last week the Anjunadeep’s Eli & Fur dropped their highly anticipated four-track EP, “Night Blooming Jasmine”. As promised in a recent interview, Eli & Fur returned to their songwriting roots for this EP. The EP, especially the title track “Night Blooming Jasmine”, shines a spotlight on the duos vocal talent. “We wrote most of the
Getting signed to a record label is no small feat for any artist, though OddKidOut’s initiation into OWSLA‘s rankings might be the most nerve racking trial by fire any new signee has ever faced. The young Philadelphia-native’s first assignment, handed down from Skrillex, was to dig through OWSLA’s discography, chop up his favorite samples, and to turn them into something entirely new.
The final returned product from the prodigious beatsmith is a spectacular four-track debut EP titled Solstice, that recreates some of the label’s finest sonic snippets. On the EP’s latest offering, “Napa Street,” OddKidOut reconstructs the hook of Skrillex and Poo Bear‘s “Would You Ever,” into an echoing lo-fi hip-hop gem, piecing together an unwinding downtempo glitch primed for hazy summer night cruising. Ahead of the track and Liam Underwood-directed music video premiere, OddKidOut sat down with Dancing Astronaut to dive into the producer’s storied come up that amounted to his new OWSLA EP.
Tell us a little bit about yourself. You’ve been a touring dummer since you were 13. How did drumming impact the transition to making electronic music?
I started drumming when I was six and eventually got into producing when I was 15. I had been listening to everything from hip-hop to death metal, dubstep to jazz. Once I got my chops up on producing after a few years, I started to combine all those genres into something that was exciting to me. The transition wasn’t that hard because I was just doing what I thought sounded cool. I never really labeled it as a “genre” though. But all those years of learning the drums, plus working in a bunch of different environments made producing a bit easier from the jump.
Diplo (among others) is on record as saying that Skrillex is one of the best drummers alive in the way that he understands and designs percussion. Working closely with him now, can you speak to that?
What’s really cool about Sonny’s music is that even when it’s not a percussive element, it’s still super rhythmic and has a ton of motion. Listening to his music is so fun when you’re a percussionist because you’re picking up on all the cadences of the way he chops vocals, to the way he programs his signature sounds. And even better…getting to watch his workflow a few times really opened up the way I program my sounds now.
We’d be hard pressed to find another instance in which a newly signed artist is first tasked with remixing pieces of the label’s existing discography. Was making Solstice stressful? Tell us a little bit about going through OWSLA’s discography for this EP.
It was definitely an unorthodox approach for a debut project, but I loved making it. Sonny knew I was good at chopping up samples, so he sent OWSLA’s full discography to me and I spent like five to six months creating all types of new tracks [with] them. I probably made [something] like 45 songs, but ended up only wanting to release four of them. I had a lot of time to myself in Los Angeles so I would go through, artist by artist, and just flip them over and over until I got something I really liked. We all thought it was just a cool concept.
Some projects experience trouble translating the studio output into a live performance; and a typical CDJ setup doesn’t really seem to align with your style. What would your ideal live performance hardware setup look like?
I try not to pigeon-hole myself with anything musically. I do spin a lot with just CDJ’s…but I think you’re right in the sense that I want my live show to be more than just that. Ideally, I would have CDJ’s, a Native Instruments Maschine MK3 and Jam, and an acoustic drum set, preferably a Gretsch. That way I could trigger a shit-ton of loops and be able to spazz out percussively on a few different mediums.
Sampling is obviously a huge part of your craft. How does hip-hop culture’s use of sampling inspire what you do? Who initially sparked that interest in you?
The 90’s boom-bap era is one of the defining reasons why I love music. I remember playing Tony Hawk’s Underground on my PS2 when I was younger and hearing “Low Class Conspiracy” by Quasimoto. That lead me to start listening to Madlib, and then from there came J Dilla, Pete Rock, etc. Watching these guys inspired me to get an MPC and to start flipping up records. I always loved older music, and music with soul, so the whole process of flipping up records quickly became my favorite thing to do.
2018 looks to be your breakout year and OWSLA feels like a fitting home for you. What’s next for OKO?
Duke & Jones have officially planted their flag with the release of their debut four-track EP, Eclipse. The new collection is the culmination of the duo’s steep upward trajectory over the course of the last year, eventually catching the ears of Doctor P and Flux Pavilion for a Circus Records co-sign. Duke & Jones’ first extended play comes after a string of successful releases across Zeds Dead‘s Deadbeats, Thrive Music and more in recent months, along with some well-timed Zedd support in the lead up to the new release. The Manchester-based DJ duo put together four heavy handed original works, each landing as effective setlist weapons in Duke & Jones growing catalog of inventive bass cuts.
go check out @DukeandJones !!! One of my fav newcomers right now :). Been playing their tunes a lot lately!
Eclipse is a highly collaborative effort, bringing aboard fellow Manchester producer Rohaan on “Numerals,” Don Cotti on “Sticks” and Aviella Wonder on the duo’s previously released Circus single “Final Goodbye.” Fine tuning their sound with each release, the emerging UK producers are carving out an impressive come up as they deliver their biggest release to date, inevitably inching towards their well-deserved breakthrough moment.
Top $helf makes his return to Kannibalen Records with his debut EP. His first track with the Montreal imprint “GIVE IT UP” was featured on their Christmas compilation last year. As much as that track was fire, this EP is even hotter. All four tracks show off Top $helf’s hybrid bass sound, taking various elements
What’s going on bass-heads? We know you’re going to like this one. Kiba, a new artist who focuses on super heavy bass percussions and lo-fi sounds, has given us an EP that will absolutely blow your mind. This track really dominates head bangers on all levels and could easily be dropped in Summer Festival set
This past Sunday afternoon, downtown Minneapolis was blessed with the deep tracks of Eli & Fur, which poured down from the rooftop of Seven. Dance Agenda and No Boys In The Booth brought in an all-female lineup to support the London duo. Local DJs The Real Jeilah, Big Mama, and Tee So did an outstanding
From the dorms of Indiana in 2013, to releasing their fresh 7-track debut EP, Come Alive, via Lowly Palace, Nick and Emma of PRXZM have figured out the secrets to creating catchy and uplifting music that is both honest and relatable.
Track after track Emma allows herself to be completely vulnerable and effortlessly speaks about relationships, heartbreak and new beginnings. In the mean time Nick expertly crafts vibrant synths, truly punchy percussion, and a plethora of fun sounds from brassy horns to funky guitar, to create a refreshing electro-pop sound.
“We are extremely proud of this project. The songs each came from our hearts, and the EP as a whole has truly been an experimental and passionate project for us. This release marks and exciting first step into a new world of music that we haven’t deeply explored before; creating a bridge between the electronic world that we built PRXZM in and the live world in which we will continue building.” – PRXZM
With such a cohesive body of work that carries energy and emotion from start to finish, PRXZM perfectly captures their playful style and leaves listeners longing for what’s to come.
Club circuit mainstay DJ and producer Borgeous is constantly adding to his teeming collection of dance hits, and his newest EP Dear Me lives up to his versatile reputation. He masterfully blends future bass with pop-inspired house and infectious vocal accents on the EP’s titular track, setting the tone for the compilation. Switching gears multiple times across the short extended play, Borgeous offers a hip-hop leaning “Alive,” featuring Iamsu! of “Gas Pedal” fame, and even dips into hectic trap territory on “All That I Need.”
Borgeous’ new EP is a well-rounded embodiment of his breadth of production abilities, as well as an inside look at his interests as a musician. The “Sweeter Without You” producer has taken a more experimental approach to his output in recent years — a theme that comes together cohesively on Dear Me.